Jan. 11, 2025

Make Believe Ballroom - 1/10/25 Edition

On this week's Make Believe Ballroom broadcast on member-supported Jazz 90.1 in Rochester, NY, and other fine radio affiliates across the United States as well as in the United Kingdom – a look at the history of record speeds, a visit to one of the...

Show Notes
Transcript

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It's make believe ballroom time. Put all your cares away.

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All the bands are here to bring good cheer your way.

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It's make believe ballroom time and free to everyone. It's

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no time to friend your Dalis said Bamba.

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Yours.

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Close your eyes and visualize in your solitude. Your favorite

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bands are on this dance and mister Miller, but you're

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in the mood. It's make believe ballroom time. We are

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a sweet romance as you make the bottom. Come on, Jill,

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last dance.

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Last, Hi, folks, I'm Jeff Presler, turning on the lights

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of the make Believe ballroom men, welcoming you into my

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crystal studio for another program of the great big band

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hits of the nineteen thirties and nineteen forties. Whether you're

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one of my longtime listeners or maybe a new listener.

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On public, community or university radio stations across the US

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as well as in the United Kingdom, please grab your

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dance ticket. It's free and let's listen to some wonderful

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big band jazz, swing, blues, and boogie woogie classics. Hello world,

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and from coast to coast on stations like Jazz ninety

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point one, WGMC in Rochester, New York, and other fine

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radio affiliates like our newest affiliate, WBRS Mix one seven

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point nine. Welcome you all to the Make Believe Ballroom,

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the one, the only, the original Make Believe Ballroom broadcast

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on the radio since nineteen hundred and thirty five. And

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I've played a lot of Woody Herman on this program

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over the years, but here is one shame on me

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that I never offered to you for your listening pleasure.

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S That was Herman at the Sherman Woodie Herman and

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his Orchestra on Decca Records, recorded in the Big Apple

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April tenth, nineteen forty. And now on the Ballroom. You know,

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why don't I flip this old seventy eight over to

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play the B side, Come Along.

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Nod a.

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Woody Herman and his Orchestra Jukin recorded as the B

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side of Decca Records Hermann at the Sherman on April tenth,

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nineteen forty. Let me play one more here in this

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segment because I always loved this title, and certainly the

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seven musicians who played it. He's a gyp see from Poughkeepsie.

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He's a gypsy from the kids see in his trailer.

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He's a traveler roomio. He can't steal a kiss in

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renal and a harden bowling green. What it takes to

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do on veno he can do on castoline.

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He's a lover.

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Under cover, stops at louse on his way to visit floor.

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He's a flaming torch on every part from Jersey to Mexico.

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He's a gypsy from the Gypsy, a traveling.

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Roamme of.

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He's a gypsy from Poughkeepsie. Recorded on Victor Records in

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their New York City Studio number two on April fifteenth.

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It's nineteen thirty seven and performed by the legendary Tommy

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Dorsey and his clam Bake seven with a vocal by

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Edith Wright. And right here I am Jeff Bresler, and

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you are listening to the Make Believe Ballroom and Friends.

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Since I played two Bank to Bank by Woody Herman,

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why not play a double dip by Tommy Dorsey and

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it's clam Bake seven, Hi and balace.

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What's new? Nah, Mutch?

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Not much? Well, Hello, Edith, what's new with you? I've

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got a new dance. I'd like to show it.

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To you.

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If you've got rhythm to burn, here's a dance. It's

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easy to learn if you don't, and your name is

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much if you don't.

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Your social course.

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Everybody's learning how to do the big Apple, the big Apple.

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And it isn't very hard to.

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Do the big Apple, the big Apple. Keen can do it.

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Justice to the big apple, the big apple.

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Everybody's learning how to do that brand new apple down.

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They say, an apple a day will keep.

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The doctor away.

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Hey, hey, it's.

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Easy to dance your cares away. Everybody's learning how to

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do the big Apple, the big apple.

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Come on, learn to do.

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That apple dance.

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First you gather around, then you.

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Come the ground, do a bit of this is a

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bit of that, and then.

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Do a fred a staff hands up the air truck

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around them.

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Then you start riding again.

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You must do anything that you know. The most important

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thing is just.

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To let yourself phone.

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See this once an apple you're talking about.

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It's a new dance.

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They're all raving about your truck on down and susan cue,

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then shag a bit and some posing too, a Lindy hot.

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You pick a lot, put them all together, and what

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have you got?

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The big Apple the Big Apple.

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Well my mind, yes, yes, my.

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A musical salute to a nineteen thirty seven National dance

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craze on Victor the Big Apple by Tommy Dorsey and

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his Clambake seven vocal by Edith Wright and chorus, recorded

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in New York City, April thirteenth, nineteen thirty seven. And

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now I wish to direct you to an article I

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read a couple of days ago in cash Box, dated

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May the fifth, nineteen fifty six. And as you could see,

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I'm a tad behind in my reading.

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Now.

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Cash Box was a music industry trade magazine, and it

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was originally published weekly from nineteen forty two to nineteen

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ninety six. And I think I'm almost sure there's still

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an online version of that magazine. But the article that

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I read dealt with the demand guy of seventy eight

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RPM records. Of course, the vast, vast, vast majority, if

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not almost every record played here on the Ballroom was

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recorded as seventy eights, but that changed and evolved to

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forty five rpm and thirty three to third rpm. The

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story takes a few minutes to read, but I do

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hope you find it interesting, and believe me, it will

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lead to a number of big band classics being played

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for the vast majority of the remainder of the program.

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The article reads, and it's titled Seventy eights are on

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the way out. Seventy eight RPM records may be a

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thing of the past sooner than we think. The conversion

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of forty five rpm has gone on steadily until today's

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Seventy eights are used almost ex exclusively by people who

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have old model phonographs, but as far as the trade

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is concerned, seventy eights will soon be a relic. When

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the change in speeds was introduced soon after the war,

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it was difficult to decide which would win out forty

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fives or thirty three in a thirds, but after a

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couple of years of experimenting, it finally became clear that

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thirty three and the third was the speed for albums,

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while forty five would be the future speed for singles.

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In the album business, seventy eights have all but disappeared.

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Thirty three and a third has proved so superior that

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it has become the accepted speed for albums, But in

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the single business, seventy eights have lingered on, not because

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they are better than forty fives, but because there were

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so many old machines still in exist stance that the

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record companies simply had to put out a product that

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could be bought by those people who still had not

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changed equipment. Probably the greatest impetus, however, to the conversion

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to forty five, was the decision of most jukebox firms

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to make all new equipment on a forty five level.

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For the past several years, the change to forty five

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has been universal among automatic phonograph manufacturers. This has taken

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place not because these manufacturers have any interest in promoting

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one speed over another, but simply because, from the economics

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of the business, forty fives have a multitude of advantages

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over seventy eights. They last longer, play better, are easier

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to store, and are more economical all around. Therefore, as

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far as the jukebox industry is concerned, the change to

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forty five has been inevitable. Just as jukebox operators today

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prefer forty five rpm, so does the general public find

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at a better speed. For the very same reasons. No

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longer do they have to worry about dropping a record

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or using wall after wall to store their records. Forty

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five solve many of their disc problems. As the movement

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has developed, it has spread to all users of records.

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A couple of years ago there was a great hassle

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among radio stations when the record companies decided to change

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their samples to forty five, but inevitably, almost all radio

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stations adjusted their equipment to be able to use forty

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five RPM discs, And now it is it is doubtful

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that any would want to change back even if they could.

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Now that users of records are satisfied about the qualities

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of forty five, the final blow to seventy eight's is

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coming from the record companies themselves, who for a long

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time have been diminishing the production of seventy eights and

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are now determined to eliminate them altogether. It won't be

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long now the single future belongs to forty five RPMs.

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Seventy eights are on the way out. That from cash

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Box Magazine, dated May fifth, nineteen fifty six. I hope

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you found that story interesting. Obviously, the history of recording

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and producing records is an integral part of the overall

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music industry history. So as I stated, the vast, vast

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majority of records I play Here in the Ballroom seventy

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eight rpm origins. But did any big bands record on

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forty five And the answer, of course is yes.

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A.

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Little art a word, one more time, Let's ride one

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more once.

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That was April in Paris by Count Basie and his orchestra,

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And that old nineteen thirty song hit was reborn with

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the release of the just heard famous New Basi treatment

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of the song. The tune was recorded in forty five

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RPM by Clef Records and was released in nineteen fifty six.

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So how about one more big band record that was

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produced in forty five rpm, then one of the greatest

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selling thirty three and the third albums of all time

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that featured well. It featured a virtual cornucopia of big

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band gems.

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Jy be sweet, is your name allways? Spird Han you.

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Fum never ser.

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If by the one?

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And when you're mind.

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You soon find out just what love.

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Is all about. Jerry Jerry, I'll make a bed, Jerry Jerry,

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I'll get.

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You yet, if I'm the world, I'll hang around.

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To you grow up.

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And settled down.

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Cherry, Why what's on a screen? Cherry said?

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We just heard? Harry James Popular nineteen forties instrumental Cherry

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here produced by Coral Records as a forty five RPM

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recording featuring Les Brown and his band of Renown and

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with vocals by the Lancers, recorded in nineteen fifty five.

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I'm Jeff Bresler, and you're listening to the Make Believe Ballroom.

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If you have a comment or request, you can email

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me at Jeff at MakeBelieve Ballroom Radio dot com. That's

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Jeff at MakeBelieve Ballroom Radio dot com. And I don't

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know if we could get in any of the stack

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of requests I have here on the console in the

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Crystal studio today, but I will certainly try at the

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end of the program. And now, friends, we have played

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seventy eight records by Woody Herman and Tommy Dorsey at

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the top of the show. We then switched to a

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couple of forty fives by Count Basie and Less Brown.

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And now let me move on to thirty three to

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third RPMs. As I read to you in the cash

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Box article, three and a thirds were well they were

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best suited for LP albums long playing albums. In nineteen

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sixty five, as successful, thirty three and a third box

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set of albums was released, and that featured masterfully restored

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versions of the original seventy eights. The Great Band Era,

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as it was known, was a compilation album featuring swing

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music from nineteen thirty six to nineteen forty five. Now,

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for the seasoned out there, you may remember Reader's Digest.

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Readers Digest magazine still published today. They used to have

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a record club, So Readers Digest released the album in

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nineteen sixty five as a ten LP album box set.

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Now I'm going to share some of the recordings with

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you from that ten set album, and in between give

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you some facts about this historic LP set.

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Mister bar don't you know things have changed?

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You're behind time with.

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The melody you always sing. All of birds have their

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songs rer ring.

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Better get smart.

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What you gotta do today is swing.

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I was talking to the whipper will.

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He says, you've gotta call the trail.

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By.

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Why you're gonna swing to night?

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I was talking to the mocking bird.

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He says you are the worst he's heard.

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By.

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Why you're gonna swing to night?

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Even the owl tells me a foul thing and a

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lalla by.

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00:32:07.160 --> 00:32:09.880
No, don't be a bringdown.

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00:32:10.119 --> 00:32:12.359
If you can swing down give me those.

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00:32:12.279 --> 00:32:15.359
High know there's a lot of talk about your file

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00:32:15.960 --> 00:32:18.279
and they're saying you're off the call.

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00:32:20.359 --> 00:32:24.680
Begas, mister b Teggs, you can.

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00:32:24.799 --> 00:32:26.559
Follow me if by.

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00:32:29.440 --> 00:32:30.960
We're gonna break it up tonight.

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00:33:04.559 --> 00:33:08.160
Originally recorded on Victor Records on September the sixth, nineteen

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00:33:08.240 --> 00:33:11.759
thirty seven, Bob White by Benny Goodman and his Orchestra,

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00:33:11.880 --> 00:33:15.799
with Martha Tilton providing the vocal, and heard in thirty

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00:33:15.880 --> 00:33:19.960
three and a third on the Reader's digest album The

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00:33:20.119 --> 00:33:25.319
Great Band Era. Another factoid about this album that you

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00:33:25.400 --> 00:33:30.519
may find interesting. In nineteen eighty eight, the Recording Industry

260
00:33:30.559 --> 00:33:36.480
Association of America certified nine million sales of the album,

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00:33:36.839 --> 00:33:40.359
that making it one of the top selling albums ever

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00:33:40.799 --> 00:33:45.440
released in the United States. Let me choose another one

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00:33:45.599 --> 00:34:00.559
for you, row.

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00:34:01.680 --> 00:34:18.760
Bone, Now it's your turn to cry over asy road

265
00:34:19.159 --> 00:34:20.840
as a turning.

266
00:34:25.719 --> 00:34:42.280
That's one thing that you learn. A crown boy, A

267
00:34:42.320 --> 00:34:55.760
lot of food like to be now found to us just.

268
00:34:55.880 --> 00:35:03.280
A little bit glure, I found the hole.

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Just a little bit.

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To I crowed boy.

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00:35:17.800 --> 00:35:18.920
Now it's your.

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00:35:18.960 --> 00:36:51.960
Turn to cry over me over, Oh crow Now it's

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00:36:52.079 --> 00:36:53.280
your time.

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To crawl.

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Over me.

276
00:37:05.000 --> 00:37:08.639
Originally recorded as a Victor seventy eight RPM. I Cried

277
00:37:08.760 --> 00:37:12.039
for You Bunny Berrigan and his Orchestra, with a vocal

278
00:37:12.079 --> 00:37:16.039
by Kathleen Lane, and released as a restored thirty three

279
00:37:16.079 --> 00:37:19.599
and a third on the Reader's Digest album set The

280
00:37:19.679 --> 00:37:25.039
Great Band Era. Now Readers Digest sent out a free

281
00:37:25.039 --> 00:37:32.199
promotional record before releasing the Great Band Era album. It

282
00:37:32.280 --> 00:37:37.280
was voiced by vocalist and bandleader Vaughan Monroe, and the

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00:37:37.679 --> 00:37:42.519
record boasted that in the Great Band Era RCA, Victor

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00:37:42.719 --> 00:37:47.760
sound engineers had removed all the irritating noise and scratchiness

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00:37:47.760 --> 00:37:51.440
that was always present on the original records, even when

286
00:37:51.440 --> 00:37:57.000
they were brand new. Now that record, the Monroe promotional

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00:37:57.280 --> 00:38:01.480
was made of paper so it could be sent in

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00:38:01.559 --> 00:38:04.079
the mail. Now, I've talked about the rise and fall

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00:38:04.119 --> 00:38:08.039
of paper records of the early nineteen thirties. Here in

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00:38:08.079 --> 00:38:12.440
the Ballroom, So a strange contradiction that a low tech

291
00:38:12.679 --> 00:38:16.599
paper record would be used to promote a high tech

292
00:38:16.840 --> 00:38:19.079
thirty three and a third.

293
00:38:25.320 --> 00:38:28.679
Taking a chum song, low.

294
00:39:23.320 --> 00:39:26.960
And here come those happy, go lucky three k debts.

295
00:39:29.239 --> 00:39:34.079
Here I go again, I hear the trumpets blow again,

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00:39:35.280 --> 00:39:41.440
all a glow again, taking a chance on love. Here

297
00:39:41.920 --> 00:39:49.079
I Slide again, About to take that ride again, Storylide again,

298
00:39:49.760 --> 00:39:54.000
Taking a Chance on Love. I thought that cards were

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00:39:54.039 --> 00:39:59.480
a frame up. I never would try, But now I'm

300
00:39:59.559 --> 00:40:05.280
taking the game of Bandeace of Hearts is high.

301
00:40:05.320 --> 00:40:06.960
Things are mending.

302
00:40:07.079 --> 00:40:11.679
Now I see a rainbow blending. Now we'll have a

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00:40:11.840 --> 00:40:15.400
happy ending now. Taking a Chance on.

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00:40:15.519 --> 00:40:41.239
The where.

305
00:41:14.000 --> 00:41:17.760
Originally recorded on Victor and then restored for the Great

306
00:41:17.920 --> 00:41:22.280
Band Era recording Take a Chance on Love by Swinging

307
00:41:22.400 --> 00:41:26.119
Sway with Sammy Kay vocal by the Three K Debts

308
00:41:26.800 --> 00:41:31.000
and recorded in New York City November twelfth, nineteen forty.

309
00:41:33.119 --> 00:41:35.880
The box set The Great Band Era Believe It or

310
00:41:35.960 --> 00:41:39.480
Not was one of the first LP releases to introduce

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00:41:39.559 --> 00:41:44.159
the concept of audio restoration to the music listening public.

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00:41:45.000 --> 00:41:47.239
And as I mentioned to you a few minutes ago,

313
00:41:47.320 --> 00:41:51.599
a free promotional paper record was sent in the mail

314
00:41:51.760 --> 00:41:56.679
to Reader's Digest subscribers introducing the set, and as I mentioned,

315
00:41:56.719 --> 00:42:00.800
Vain Monroe hosted that record and he presented on it

316
00:42:00.880 --> 00:42:04.199
before and after versions of one of the songs to

317
00:42:04.239 --> 00:42:09.360
demonstrate what had been done enhance the sound. Has described

318
00:42:09.360 --> 00:42:12.639
in a booklet that accompanied the records. Each song was

319
00:42:12.679 --> 00:42:17.280
electronically treated to remove surface noises as well as ticks

320
00:42:17.800 --> 00:42:21.679
and pops, and they pretty much were able to accomplish

321
00:42:21.679 --> 00:42:24.920
that with this album. Of course, now it's taken for

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00:42:25.000 --> 00:42:27.920
granted that when I play records here on the ballroom,

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00:42:28.679 --> 00:42:32.760
you're going to get a clean sound. Noise restoration, obviously,

324
00:42:33.639 --> 00:42:38.679
is so common now that literally a child can restore

325
00:42:38.840 --> 00:42:44.400
or fix poor sound with a number of easily available

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00:42:45.400 --> 00:42:49.920
audio restoration programs. Believe me, if I can do that,

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00:42:50.039 --> 00:42:54.079
if I can restore sound, anyone can. But back in

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00:42:54.159 --> 00:42:58.519
nineteen sixty eight, that was certainly revolutionary. Let me play

329
00:42:58.559 --> 00:44:10.480
another one of those revolutionary songs from the album.

330
00:44:10.920 --> 00:44:16.360
I have eyes to see with, but they see only

331
00:44:17.800 --> 00:44:22.920
for you have eyes that put the very starts to shade.

332
00:44:25.920 --> 00:44:31.440
I have lips to sap with. What else am to

333
00:44:31.639 --> 00:44:36.719
do when you have lips that fill my very soul

334
00:44:37.199 --> 00:44:38.400
with flame.

335
00:44:40.639 --> 00:44:41.199
To night?

336
00:44:42.400 --> 00:44:48.880
You'll need to me in life right Thursday. But yore

337
00:44:50.079 --> 00:44:54.360
so dear to me, I could see you even miles

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00:44:54.719 --> 00:45:00.800
way before I have asked to see w And yet

339
00:45:00.920 --> 00:45:07.280
when we're a pa dack, close my eyes and see with.

340
00:45:07.159 --> 00:46:24.280
My I have eyes by Artie Shaw and His Orchestra,

341
00:46:24.360 --> 00:46:27.880
vocal by Helen Forrest, recorded in New York City, September

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00:46:27.920 --> 00:46:31.199
the twenty seventh, nineteen thirty eight, And I'm pretty sure

343
00:46:32.400 --> 00:46:36.840
that was Helen Forrest's debut release with Artie Shaw, and

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00:46:37.119 --> 00:46:41.599
here presented as a cut from the Readers Digest thirty

345
00:46:41.599 --> 00:46:45.679
three to third LP set The Great Band Era Folks.

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00:46:45.679 --> 00:46:50.159
Over one hundred songs were recorded for This Reader's Digest

347
00:46:50.280 --> 00:46:53.360
thirty three and a third multiple record collections. So let

348
00:46:53.400 --> 00:46:56.880
me see if we can play at least a couple more.

349
00:47:00.199 --> 00:47:13.519
There's a legend in real.

350
00:47:15.440 --> 00:47:17.920
About a girl who's quite a.

351
00:47:18.039 --> 00:47:25.440
Dreams, and so I went to see till I landed

352
00:47:25.760 --> 00:47:32.599
in reel. I thought the tale was just a bit extreme,

353
00:47:35.360 --> 00:47:42.039
but I'm forced to agree.

354
00:47:49.400 --> 00:47:50.880
And Jury.

355
00:47:54.119 --> 00:48:03.159
She is all the claim, with herries of night and

356
00:48:03.360 --> 00:48:06.320
lips as bright as flayed.

357
00:48:08.960 --> 00:48:23.719
Tanjury when she thenss bar samey her stay and cabrille

358
00:48:24.880 --> 00:48:25.880
to sig.

359
00:48:28.920 --> 00:48:37.679
And I'll see tolls to TENZERI.

360
00:48:39.119 --> 00:48:51.159
Raised in every bar across the Argentea. Yes she has

361
00:48:51.320 --> 00:48:57.119
them all on the run, but her heart.

362
00:48:56.239 --> 00:48:58.360
Belongs to just rid.

363
00:49:01.400 --> 00:49:03.000
Lost times.

364
00:49:29.119 --> 00:49:35.320
Yes she has them all on the ro, but her.

365
00:49:35.280 --> 00:49:41.039
Heart belongs to just one. Her heart be.

366
00:49:41.280 --> 00:49:42.159
Holls to.

367
00:49:44.039 --> 00:49:45.280
And read.

368
00:49:54.239 --> 00:49:57.320
That was Tangerine by Vaughon Monroe and his Orchestra vocal

369
00:49:57.360 --> 00:50:01.760
by Vaughan and originally recorded as a seventy eight RPM

370
00:50:01.920 --> 00:50:06.599
four Bluebird Records, And how can I discuss vae Monroe's

371
00:50:06.639 --> 00:50:11.920
involvement in the Reader's digest r c A collaboration without

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00:50:11.960 --> 00:50:13.679
playing one of his heads.

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00:51:00.280 --> 00:51:03.840
You're as pleasant as the morning and refreshing as the rain.

374
00:51:04.599 --> 00:51:07.400
Isn't it a pity that you're such a scatter brain.

375
00:51:07.599 --> 00:51:10.440
When you smile, it's so delightful. When you talk, it's

376
00:51:10.440 --> 00:51:15.079
so insane. Still it's charming, chatter scatter brain. I know

377
00:51:15.199 --> 00:51:18.360
I'll end up apoplectic, but there's nothing I can do.

378
00:51:18.480 --> 00:51:22.239
It's just the same as being in a hurricane. And

379
00:51:22.400 --> 00:51:25.039
though my life will be too hectic, I'm so much

380
00:51:25.079 --> 00:51:28.400
in love with you, nothing else can matter. You, my

381
00:51:28.559 --> 00:51:32.679
darling scatter brain. You as gay as New Year parties,

382
00:51:32.719 --> 00:51:36.159
and you're sweetest sugar king. But when you get serious,

383
00:51:36.199 --> 00:51:39.320
you're an awful scatter brain. When we dance, I think

384
00:51:39.360 --> 00:51:42.400
it's heaven till about the third refrain, Then you start

385
00:51:42.400 --> 00:51:46.679
that awful patter scatter brain. Perhaps I'm much too analytic, budd,

386
00:51:46.880 --> 00:51:49.840
I'm must well on tree. I try to understand your

387
00:51:49.880 --> 00:51:53.920
double talking vain. Yet, won't you please forgive your credit

388
00:51:54.039 --> 00:51:54.920
calls and much to.

389
00:51:55.039 --> 00:51:55.599
Mean to me?

390
00:51:56.480 --> 00:52:00.119
Nothing else can matter you, my darling scatter Brain, I.

391
00:52:19.199 --> 00:52:55.079
Don't give it.

392
00:52:57.079 --> 00:53:23.559
By We just listened to scatter Brain by Freddie Martin

393
00:53:23.679 --> 00:53:28.559
as orchestra vocal by Glenn Hughes, originally recorded by Bluebird

394
00:53:28.639 --> 00:53:33.199
Records in nineteen thirty nine, but here restored for the

395
00:53:33.280 --> 00:53:38.960
Reader's Digest album The Great Band Era. And as I

396
00:53:39.000 --> 00:53:41.280

Make Believe Ballroom - 1/10/25 Edition

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